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Akademische Abhandlung zur Erlangung der Doktorwürde (‚filosofie doktorsexamenГ) an der Universität Stockholm ...... Lau

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ACTA UNIVERSITATIS STOCKHOLMIENSIS STOCKHOLMER GERMANISTISCHE FORSCHUNGEN

–––––––––––––––––––– 67 ––––––––––––––––––––

Ragni Behrens

…ihm war, als spiegelte sich wunderbar sein Leben wie ein Traum noch einmal wieder

Zur Bedeutung des Vergleichs in Eichendorffs Erzählwerk

Almqvist & Wiksell International Stockholm

Akademische Abhandlung zur Erlangung der Doktorwürde (‚filosofie doktorsexamen’) an der Universität Stockholm Germanistisches Institut, Universität Stockholm, S-10691 Stockholm ABSTRACT … it seemed to him, as would his life once again be mirrored wonderful like a dream On the Importance of Similes in Eichendorff’s narrative work The present dissertation investigates similes and their importance in Eichendorff’s narrative work. The sources of the investigation consist of seven of Eichendorff’s narratives. Their 734 similes make up the corpus, which is presented in its entirety in the appendix. The context of the similes is partly included as well. Initially, I define the concept of “simile” more precisely, partly distancing myself from the definitions found in classical dictionaries of literary terms. After this, I describe my procedure for analysis in detail. This turned out to be necessary, since there was no similar study to be found on this topic in the extensive literature on Eichendorff. The search for models of types of similes brought me back to antique rhetoric as well as to Middle High German epic poems. In the first analysis, the types of similes occurring in the corpus are presented. The syntactic structures of image receivers and image givers are used as criteria. Four structures of similes occurred: a) classical similes and b) similes with image givers, which represent adverbial clauses and c) as / as if – clauses or are d) subject-related. The frequency and the development of frequency of types of similes are presented as well. In the second step of the thesis, I investigate whether similes tend to depict conditions/qualities or procedures/actions. It turned out that similes reflecting conditions/qualities, i.e. epic similes, dominated strongly. The high number of similes could possibly be explained by the functions carried out by epic similes in narrative texts. In the third part, I concern myself with the question whether the similes of the corpus are imaginative representations only and what kind of sensorial perceptions they express. Admittedly, the dominating percentage of the similes proved to be images, but more than fifteen per cent consist of sounds and other sensorial perceptions. Furthermore, imaginative similes, but also sounding similes express motion, so that they illustrate pictures in motion and sounding motion respectively. These come close to synaesthesia, whereas only five similes illustrate „pure“ synaesthesia. In contrast, subject-related similes are perceptions of different sensations and feelings, illustrating the inner life of a character not shared by any other character. Finally, the semantic content of the similes is investigated in order to determine the metamorphosis, i.e. the trope transfer from proprium to improprium. It turned out that only the classical simile originating in antique rhetoric is suitable for a semantic analysis. Above all, there is great variation in the trope transfer. The metamorphosis human being → nature dominates strongly, which makes the narrative text appear as a palimpsest, in which yet another world glimmer in front of the human being behind every character. However, the many trope transfers that convey reality → unreality could be interpreted as transitions and as a “magical code” of Eichendorff. Furthermore, the semantic analysis uncovers content and motives of classical similes. It becomes clear that pre-constructed – and only pre-constructed - content is imitated here. Consequently, it can be asserted that Eichendorff’s great number of similes constitute or at least contribute to the formulaic manner (according to Kohlschmidt) and the intertextuality (according to Nienhaus) in Eichendorff’s narrative work.

Above all, the subject-related simile type turns out to be a typical representative of Romanticism because of its subjectivism. Together with its preformed semantic content, it constitutes the “romantic formula” of Eichendorff’s work. Keywords: Eichendorff, Eichendorff’s narrative work, similes, types of similes, classical similes, non-classical types of similes, if-/ as if-similes, adverbial similes, subject-related similes, proprium, improprium, image giver, image receiver, tropes, antique rhetoric, Middle High German epic poem, Romanticism, functions of similes, pictures in motion, sounding motion, formula, formulaic manner, synaesthesia, formulas, intertextuality

© Ragni Behrens, 2005 ISSN 0491-0893 ISBN 91-85445-05-03 Intellecta DocuSys AB, Nacka 2005

Inhaltsverzeichnis

Inhaltsverzeichnis Vorwort 1. Einleitung .................................................................................................... 3 Von der Formel zum Vergleich: Zur Wahl des Themas....................... 3 Ziel der Arbeit ....................................................................................... 4 Gliederung der Arbeit ........................................................................... 5 Quellen ................................................................................................. 7 Korpus ................................................................................................... 8 Theoretischer Teil ........................................................................................ 9 Definitionen einiger für die Arbeit grundlegender Begriffe................. 9 Zum Begriff Formelhaftigkeit............................................................. 10 Topik und Topos: traditionelle und neue Interpretation ..................... 11 Die antike Rhetorik ............................................................................. 12 Tropen und rhetorische Figuren.......................................................... 14 Zur Verwandtschaft von Metapher und Vergleich ............................ 15 Der Vergleich ...................................................................................... 16 Similitudo: der Vergleich der antiken Rhetorik.................................. 19 Mikrotext............................................................................................. 21 Motiv, Stoff und Thema...................................................................... 22 Zur Methode .............................................................................................. 22 Stand der Forschung .................................................................................. 26 Allgemein zu Eichendorff .................................................................. 26 Zum Sprachstil Eichendorffs ............................................................. 27 Zu Motiven in Eichendorffs Prosa ..................................................... 30 Die sieben Erzählungen: Stoff, Motive, literarische Vorbilder .......... 31 Zusammenfassung .............................................................................. 41 2. Die Vergleichs-Typen im Korpus Eine Analyse ihrer syntaktischen Struktur ................................................ 45 Kategorisierungs-Argumente ............................................................. 45 Klassische Vergleiche ........................................................................ 46 Adverbiale Bildspender ...................................................................... 48 Als/als ob- Sätze als Bildspender ....................................................... 50 Subjektbezogene Bildspender ............................................................. 51 Zweifelsfälle ....................................................................................... 52 Zur Frequenz der Vergleiche ..................................................................... 52 Zur Frequenz der Vergleichs-Typen: Tabellen und Diagramme ....... 52 Zusammenfassung ..................................................................................... 63 3. Handlung oder Eigenschaft? Kategorisierungs-Argumente und -Kriterien ...................................... 66

Inhaltsverzeichnis

Das ‚Bezugs-Wort’ und seine Bedeutung als Kriterium .................... 68 Zum Tertium comparationis 69 Zur semantischen Diskrepanz der Lexeme ‚Vorgang’ und ‚Handlung’ bzw. ‚Zustand’ und ‚Eigenschaft’....................................................... 69 Schlussfolgerungen ............................................................................. 74 Frequenz der Veranschaulichung von Handlung bzw. Eigenschaft .......... 75 Zusammenfassung ...................................................................................... 85 4. Stellen Vergleiche nur Bilder dar? Allgemeines, alle vier Vergleichs-Typen Betreffendes...................... 88 Einteilung der Vergleiche nach den Sinneseindrücken, die sie darstellen ............................................................................................. 88 Zu Zeitliches oder Örtliches darstellenden adverbialen Vergleichen 90 Schlussfolgerungen ............................................................................. 92 Zur Frequenz der Darstellungen der Sinneseindrücke........................ 93 Zusammenfassung .................................................................................... 100 5. Semantische Analyse klassischer Vergleiche des Korpus Motivation und Ziel .......................................................................... 101 Zur Einteilung in semantische Bereiche ........................................... 103 Konkrete bzw. übernatürliche Sinneseindrücke ............................... 104 Natur.................................................................................................. 105 Kultur ................................................................................................ 106 Zeit- und Raum.................................................................................. 108 Übergänge......................................................................................... 109 Zusammenfassung............................................................................. 110 Eine dreiteilige semantische Analyse. Anteile der Wortbereiche .... 110 Die Propria ............................................................................................... 111 Propria bildlicher Vergleiche. Anteile der Wortbereiche................. 111 Der Bereich Mensch ......................................................................... 119 Ausnahmen........................................................................................ 125 Propria Laute darstellender Vergleiche ............................................ 126 Propria der Synästhesien und übrige Propria .................................... 130 Ausnahmen........................................................................................ 131 Die Impropria ........................................................................................... 133 Impropria bildlicher Vergleiche. Anteile der Wortbereiche............. 133 Impropria Laute darstellender Vergleiche ........................................ 150 Impropria der Synästhesien und übrige Impropria............................152 Die Metamorphosen Analyse der semantischen Sprünge von Proprium zu Improprium .. 154 Bilder darstellende klassische Vergleiche ........................................ 154 Propria aus dem Bereich Mensch und ihre Metamorphosen ........... 173 Metamorphosen der Figuren in absoluten Zahlen ............................ 174

Inhaltsverzeichnis

Tropensprünge Laute darstellender Vergleiche ................................ 188 Die Metamorphosen der Synästhesien und übriger Vergleiche........ 195 Ausnahmen........................................................................................ 197 6. Semantische Analyse adverbialer nichtklassischer Vergleiche Zur Analyse der Tropensprünge adverbialer Vergleiche ..................200 Die Bildempfänger adverbialer Vergleiche...................................... 205 Zusammenfassung............................................................................. 209 Die Bildspender adverbialer Vergleiche .......................................... 209 Zu verschiedenen Adverbial-Typen als Bildspender........................ 212 Semantische Herkunft adverbialer Bildspender................................ 213 Zusammenfassung .................................................................................... 214 7. Zur Funktion der Vergleiche .................................................................... 216 Eindruck durch Quantität .................................................................. 216 Bilder und Klänge als Entwurf, „Roter Faden“ und Quintessenz .... 216 Poetische Steigerung als Funktion der Aufzählung von Propria ...... 219 Bewegte Bilder, bewegte Klänge...................................................... 221 Zuhörer erwünscht. Höhepunkt und Verzögerung der Erzählung.... 223 Vom erhabenen Vergleich zur Burleske. Funktion des Stils ............ 224 Verschiedene Vergleichs-Strukturen – verschiedene Funktionen .... 225 Die große Geste des klassischen Vergleichs..................................... 225 Die kleine Geste des nicht-klassischen Vergleichs........................... 226 Funktionen der Verunsicherung bzw. der Exaktheit ........................ 227 8. Zusammenfassung .................................................................................... 234 Vier Vergleichs-Typen...................................................................... 235 Hohe Frequenz der Vergleiche ......................................................... 237 Starke Dominanz epischer Vergleiche.............................................. 238 Nicht nur Bilder................................................................................. 239 Wahrnehmungen und Empfindungen................................................239 Schwache oder fehlende Repräsentation...........................................240 Der Tropensprung Mensch Æ Natur ................................................ 241 Der „magic code“ Eichendorffs ........................................................ 241 Vorgebildetes – und nur Vorgebildetes– als Bildspender ................ 242 Das Eichendorff Eigene .................................................................... 243 Eine romantische Formel .................................................................. 245 Dank .............................................................................................................. 247 Literaturverzeichnis....................................................................................... 249 Anhang .......................................................................................................... 258 Klassische Vergleiche ....................................................................... 258 als/als ob-Sätze.................................................................................. 270 Adverbiale Bildspender..................................................................... 278 Subjektbezogene Vergleiche ............................................................ 286

Inhaltsverzeichnis

Vorwort

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8. Zusammenfassung

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@ ' Y [ [ @ [ $ % Y + !} [% $ ][ < !!+ X }}!

%*=#

J = [ +[ % @ +[ ;% ; =! " % [ @ J% % +Y ! ] Y '& ' = [ +[!J Q ` # K ( %

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6 @ }~@@ > @ ][ ! J ! J $@

O %+@ $ # ` ## J `= @! ] # [ # J @ !+!!

X $

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[ !+ # +

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+ $ @ !} ` @ >;% [ Y' ! ' J Q + @ @

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] #

J `# ; ^Q[@ _ % @ @ ^

$ _!! ] % $ # } ! ~|+!!

}

8. Zusammenfassung

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0 # # @ (*

( || + [ (4 P

0 + ( }

^

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$[ $#$ & ( }!

"Q [ + Y $@# [ X [ @ , +( $ # %

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^Q[@ _ `# % @ # ! < + Y # Q[@ % Q[ [ !

+ #

+= [ > } Q ! ' `# [ $ # ` %+ % ! $ # [] + @ @ %

+ @ * ;! $ $ X ^+ X_ > # 'Y @ ] !

J^ _

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J Y [ @ [ % @ #[ < [ + [

!

Dank

J [

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=# % ; %;# @ ! P [ ; @% [ ! +[ Y J [[ >; @$[

; ][ >; @ [ X

Y [ [ ; @ @ ! ; + ^ %<J!J !; + [! J] ' ¡ \ ; !X !J Q%

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[

J [ + @ ; @ #[% ! [ % <# %> % !" [ > ]²X `*% < ] # #[ >! J [ Y ^` $ [¡ +[# ; #@@ [ @ !!

< − − % + [ [ $ ! + + +@ J[ %' ! ' $ @ \ ! " [ ^[ $% ¡ # ' @ * !

~

Dank

; ` ; [ % Q X

[

Y + J [ ! ; ! '@ [ >

6),#A9=2=O2:B) 7+

$ !> ! !] ! ' { +Y $ <{

& > ' ,(([ J!, 7+ $ !" {. ( * | &4 3 (( ! $ {P ? ) 4 3 $,((P$ U L!" # !+!~%$

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; {P R )P + 0 *+$,((!* {X = $J G + H +)( Q !$ R ( Q ~{ 4 H +)> {;! ¬ $ > { %

) P { $ z! #@ {P!! ;

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P ' C !X {¶ !> >~ (,+ " `% J [[#$ {0 74 & * ! [ { J { % 0 C ) { J±[ QJ Q > ~{ @ C C & D !@4 @+ !${$[= P~{ ?' ? # ,& ((! {] P { ,(( %

) I ) K + ?( ,((! ]@{ `Y µ X

P{,((,# @ ,( # '')K +?( ,((! ]@{`Y µX

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Literaturverzeichnis

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+ $CG { *!!" {@# .'0*+$,((`;$!·{% @ !! =Y * {X = ] {

? !" {> ~{*+ . $,((* !P!!$ ,((#{" # = %+=# !;[ J Y@ %+!* { {*+$,((!" {`` > {6 ,# !J{ |{ ' 8!,# $!+[{$

$ {@4# ,(( 3 )U3 HL @4# ( D& @4 !J !`Y }{,(( !" {< !] { !'!$ !X% ! !J ! (( C 99^))@()X; @ [)6)6 @'),@ ? F)F) ` ;!}|{3 (4 9=22)9:22 { [ ` ## @>~{> @ ' (?& @+ '!" {3 & # # '!$ !! ; ?[!;{ # X!! ` ## @>~|{@ {@ & ,# ( '$? ,8 + ( D V+'6 !] {$% ` ] |{4 0 ('$,((C ) > C 0 '!" {P |+!}%}|! # ! ,((P$ [ J! " {; +!|%\

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|

Literaturverzeichnis

` \ ~{ H$ +HR @!$ + @+ !* !~> { ` >µ\¸ ~{ +)F ( +! {+# =[ ; ; [ [{ ` @\#~{,(()6D+ ' @+# '!J{] % $ `@<{ +3 @4 !

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+ }B{,8 $)U) L * C

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[ @ #0 M@ ~| 3 V 3 3 $ ~~ 3 |

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